Movie Review ~ Ghostbusters: Afterlife

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The Facts:

Synopsis: When a single mom and her two kids arrive in a small town, they begin to discover their connection to the original Ghostbusters and the secret legacy their grandfather left behind.

Stars: Finn Wolfhard, Mckenna Grace, Paul Rudd, Carrie Coon, Sigourney Weaver, Bill Murray, Dan Aykroyd, Ernie Hudson, Annie Potts

Director: Jason Reitman

Rated: PG-13

Running Length: 124 minutes

Trailer Review: Here

TMMM Score: (9/10)

Review:  This is a public service announcement to all major Hollywood studios (and any independent ones with franchise opportunities) that are tossing around ideas of rebooting or relaunching their most valuable properties.  There are a million ways you can go wrong in resurrecting what has made you a boatload of cash in the past and will continue to bring in money moving forward as you churn out repackaged Blu-rays, coffee mugs, and ugly sweaters.  Don’t go cheap, instead why not think big, shoot for the moon, great creative, spend the cash, take the time.  Fans will wait for the product if the product is quality.  It’s late as I’m writing this and reading over these last sentences, I’m not sure if I’m writing a review for Ghostbusters: Afterlife or giving a pep talk to an ad agency that just lost a big client.  No, I’m definitely writing a review for this long in the works and much called for sequel, which was delayed over a year due to the COVID-19 lockdown.

I feel as if I need to give this announcement to Tinsel Town (since all the big execs are reading this, naturally) because Ghostbusters: Afterlife is a prime example of why waiting to get the right group of people together and aiming for perfect instead of “acceptable” is how the best sequels are made.  I can’t even begin to describe how pleasing this film is and not just on the low-bar scale of fan service.  Fan service is often the easiest box to to check of all so critics that ding a film for “paying fan service” aren’t really giving an adequate critique of the film.  No, this is a movie that not only understands its audience but cares about them as well.  It knows how long they’ve waited, suspects they may be bringing their own children to the movie, and provides an entertainment package that work fantastically for the generation that grew up with one set of Ghostbusters while paving the way for the next generation to get their own heaping dose of kicks from the festivities.

Does it help having some knowledge of the first two movies (the original in 1984 and the divisive sequel in 1989 being the reference points, the female-led reboot in 2016 isn’t acknowledged as far as I could tell) going in?  Sorta, but only because you’ll pick up more of the small tips of the proton packs director Jason Reitman (son of original director Ivan) makes to what his dad crafted before.  It’s more or less a continuation from the second film which picks up today in a small town in Oklahoma where Egon Spengler retreated to after the Ghostbusters disbanded, abandoning his young daughter in the process. Living life as a recluse before recently dying (original star Harold Ramis passed away in 2014), his now grown daughter (Carrie Coon, Gone Girl) is a single mom to Phoebe (McKenna Grace, I, Tonya) and Trevor (Finn Wolfhard, The Goldfinch) and needs a place to stay after being evicted.  Her dad’s ramshackle house in the middle of nowhere will have to do. Working through the hard feelings she has will have to wait a bit.

Ah, but Spengler picked this town and this house for a reason, as we’ll come to see.  First, we’ll learn a bit more about the town from Phoebe’s summer school science teacher Gary Grooberson (Paul Rudd, This is 40) and Podcast (Logan Kim, a star in the making) her lab partner and, soon, her partner in crime.  Seems the town is known for its strange earthquakes even though it isn’t anywhere near a fault line or any other natural developments which would normally cause them.  Then there’s the abandoned mine which has seemed to have some activity lately.  Oh, and who can forget all the fun discoveries Phoebe finds around the house when the inquisitive girl who has trouble fitting in starts to poke around with a ghostly helping hand.

Uh-oh…I think I’ll stop there because I wouldn’t want to get ahead of myself or let you in on what Reitman and screenwriter Gil Kenan have cooked up for the remainder of the film’s exciting second half.  The thrills and adventure only rises as the stakes grow, resulting in a movie-going experience that works as a sort of fountain-of-youth-filmgoing.  I went in as an adult but left feeling fifteen years younger.  It’s that fun of a watch and while it does have the allure of a summer blockbuster, its spooky tone fits right into its late fall/Thanksgiving release slate. 

Led by a solid cast of young talent and given great support by its adult cast who ace the fast-talking dialogue in Reitman/Kenan’s finely tuned script, Ghostbusters: Afterlife is the sequel fans have been waiting (dreaming?) for.  This isn’t a quickie get rich quick project or a recycled brain-dead treatment.  Reitman (Labor Day) grew up on the sets of these films so it’s no surprise he has spoken of how personal these films are to him.  It shows in nearly every frame on screen and continues to the very end of the movie which has one of the longer post-credit scenes I’ve seen in a while.  The movie won’t be complete if you don’t stay until that absolute final credit is through. I suspect by the time the movie is over, you won’t need any prodding to stay through the credits.

31 Days to Scare ~ Malignant

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The Facts:

Synopsis: Madison is paralyzed by shocking visions of grisly murders, and her torment worsens as she discovers that these waking dreams are in fact terrifying realities.

Stars: Annabelle Wallis, Maddie Hasson, George Young, Michole Briana White, Mckenna Grace, Jacqueline McKenzie, Jake Abel, Ray Chase, Jean Louisa Kelly, Susanna Thompson

Director: James Wan

Rated: R

Running Length: 111 minutes

TMMM Score: (6.5/10)

Review: I feel as if I should start a review of Malignant by dividing up the reader into two different categories.  Are you the type of person that sees a horror film and need to have it grounded in some kind of truth, a reality that benefits from an explanation with sound science behind it?  If you are, please step to the left and I can find you another movie later.  For the rest of you still with me, I invite you to try out this ambitious bit of terror that unfurls itself slowly before taking several shots of adrenaline as it reaches its climax.  It’s utter nonsense, let’s be real clear, and gets so crazy you almost wonder if it’s going to turn out to be some huge joke with a “Gotcha” dance break, but it’s in the way it takes itself so seriously that ultimately makes Malignant such a wild ride.

The movie locked me down almost from its first shot, the imposing Simion Research Hospital perched high on a cliff one rainy night in 1992.  Dr. Florence Weaver (Jacqueline McKenzie, The Water Diviner) is documenting the study of her patient Gabriel when she’s suddenly called to his room to witness something…strange.  Jumping ahead to 2019 and into the Seattle home of Madison (Annabelle Wallis, The Mummy) and her good for nothing husband Steve (Jake Abel, The Host), we barely get to meet the couple before we learn that Steve likes to rough up the pregnant Madison and that she’s lost several babies because of it.  It’s during one row that he smashes her head up against a wall, leaving her bleeding from the back of her head and needing to lie down.  Later that night, a ghostly figure appears and makes Madison a widow, eventually sending her to the hospital where she loses another baby. (Fear not of spoilers…this is all within the first 10 minutes!)

With the police investigating Steve’s strange death, Madison returns home with her sister Sydney (Maddie Hasson, We Summon the Darkness) and let’s her in on a little secret: Madison was adopted when she was very young after being abandoned by her birth mother. She also had an imaginary friend when she was young…a boy named Gabriel.  While Madison is putting her life back together and recovering, several other seemingly unrelated people are meeting the same dark figure that did-in wife beating Steve. One woman (Jean Louisa Kelly, Uncle Buck) is hunted down after giving a tour of Seattle’s underground city, others are violently slaughtered by the specter that walks funny and evades Detective Shaw (George Young) and Detective Moss (Michole Briana White, Songbird) with apparent ease.  It’s during these new crimes that Madison starts to see visions of the killer at work, like she is actually there when it is happening.

Director James Wan, working from Akela Cooper’s (Hell Fest) script (which he gets a story credit on along with his wife Ingrid Bisu who also appears in the film), has a long history with creating iconic horror characters and/or series.  An original creative behind the Saw series as well as directing Insidious and it’s sequel as well as The Conjuring and it’s follow-up, Wan fit in Malignant after directing Aquaman and before he set to work on the big-budget follow-up to that superhero film.  This feels like a pet project that Warner Brothers let him roll with and perhaps why Wan pulls out all the tricks in his arsenal for a movie that’s way more fun to watch than dissect.  There’s just too much bonkers business going on to take it all that seriously, even if some of the resolution has some grounding in science.

While the big reveal is a total doozy, it’s not close to the end of the film and it’s a credit not just to Wan but the rest of the cast that they are able to continue making the film engaging while carrying a rather strange idea to its bloody conclusion.  It’s during that time when Wan goes heavy metal on the action with dynamic camera angles (the director has never met a multi-level house he can’t shoot entirely from above in an uninterrupted take as an actor goes from floor to floor) and limber stunt people to bend and twist their way around in largely practical physical acts that boggle the mind.  It’s all very breathless and a tad exhausting…and I loved it.

It truly helps Wan has a cast that is taking the material deadly seriously.  Were they to even wink slightly at the camera it would have broken the illusion that someone was in on the silliness of it all.  With her dark hair and eye lined lids, Wallis is tortured soul personified and quite good as a wild-eyed woman putting together her past while trying to figure out if she needs to be worried more about her present.  Wan tends to cast his leading females well and he’s got another bullseye here.  Production elements are top notch and watching the film in 4K HD on HBOMax the cinematography from Michael Burgess (The Conjuring: The Devil Made Me Do It) is spooky and spot-on. 

When this is published, Malignant is sadly not available to watch on HBOMax (who’s the smartypants that decided it shouldn’t be available for Halloween??) but could be playing at a local theater near you.  Try to catch it on a rainy night, because if you are in the right frame of mind, this is a decidedly good watch and fun for the “sure, ok, why not” explanation that meets viewers ninety minutes in.  The cast is strong and Wan is more than prepared to present a film made with precision and skill.  Don’t cut Malignant out of your queue without investigating it a little bit.

The Silver Bullet ~ Ghostbusters: Afterlife

Synopsis: The story follows a family moving to a small town, where they learn more about who they are and the secrets of the town itself.

Release Date:  July 10, 2020

Thoughts: In 2016, Paul Feig tried to do something different in continuing/rebooting the Ghostbusters franchise.  Reducing that effort to just being the ‘female Ghostbusters’ seems entirely reductive so I’ll tread carefully and say that the movie didn’t work and not because of any gender switching that happened.  It failed to capture the tone of the original films and, more than that, didn’t capitalize on the talents of it’s skilled stars – instead choosing to forcefully make them work in roles they weren’t suited for.  Unfortunately, it fed the hungry bellies of the haters already poised to take it down.

Unwilling to give up on a reboot of their precious franchise so easily, Sony pivoted in a rather clever way by enlisting Jason Reitman (Labor Day), the son of original co-writer/director Ivan Reitman (Kindergarten Cop), to write and direct a true sequel to the original films and our first look at the highly anticipated summer 2020 film has arrived.  Let me say, there’s a point in this two and a half minute trailer where a little tingle started deep in my spine and quickly rose through the top of my head like an exaggerated thermometer in one of those Bugs Bunny cartoons.  I get the feeling Reitman, having grown up around this world, is the right person to take the reins on this series and with the rumored return of many of the original stars (who showed up in the 2016 movie but mostly as different characters) I’m truly happy to this resurrected again.

Movie Review ~ Annabelle Comes Home


The Facts
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Synopsis: Determined to keep Annabelle from wreaking more havoc, demonologists Ed and Lorraine Warren bring the possessed doll to the locked artifacts room in their home, placing her “safely” behind sacred glass and enlisting a priest’s holy blessing. But an unholy night of horror awaits as Annabelle awakens the evil spirits in the room, who all set their sights on a new target-the Warrens’ ten-year-old daughter, Judy, and her friends.

Stars: Vera Farmiga, Patrick Wilson, Madison Iseman, McKenna Grace, Katie Sarife, Michael Cimino

Director: Gary Dauberman

Rated: R

Running Length: 106 minutes

TMMM Score: (7.5/10)

Review: When I first heard the filmmakers behind The Conjuring were interested in creating a universe of their own which would do for horror what Marvel did for superhero comic book movies, I was pretty dubious as to how it would all pan out. I mean, The Conjuring was such a perfect scare machine that its unexpected success with audiences, critics, and the box office of course meant a sequel would be produced but were there enough good ideas to truly expand it into something bigger? Moreover, would the real life case files of paranormal investigators Ed and Lorraine Warren continue to be used or would new poltergeists haunting houses be unearthed?

The first attempt out of the gate was 2014’s lackluster Annabelle, a direct spin-off from The Conjuring centering on the scary doll. The film had a creepy vibe but failed deliver anything more than surface shockwaves. While The Conjuring 2 in 2016 had its moments of excellence it came down with a case of sequel-it is and overstayed its welcome. Then, a minor miracle occurred in 2017 with the release of Annabelle: Creation, which managed to improve upon its predecessor by some truly terrifying leaps and bounds. Consider how well put together that film was and how nicely it managed to fold in elements from all the films that came before, it felt like the filmmakers took in the criticism received from the previous films and made the changes necessary to keep this universe expanding.

Now, something very strange and special is happening within The Conjuring Universe as it continues to grow as a rapid pace. While 2018’s The Nun and The Curse of La Llorna from this past April stumbled a bit (but still did good numbers at the box office), things are back on the terror track with the release of Annabelle Comes Home, another strong entry that bodes well for the future of this franchise. Employing a healthy dose of atmosphere long before the real scares begin, it rewards longtime fans of the series and invites newcomers in with a wicked grin.  While it largely benefits from the jump scare, there are an equal amount of frights that come when you least expect them and plenty of misdirects to goose your bumps nicely.

So far, each Annabelle tale has found an interesting way into the timeline of the events in the history of the Warrens and this one is no different. The prologue for Annabelle Comes Home begins right after the prologue from The Conjuring when we were first introduced to the doll that had spooked a couple of college co-eds. Ed (Patrick Wilson, Aquaman) and Lorraine (Vera Farmiga, Godzilla: King of the Monsters) are taking the troublesome toy back home to their room of once (and still?) possessed artifacts for safekeeping, but Annabelle doesn’t make the journey an easy one.  The trip back presents car trouble for the Warrens and, wouldn’t you know it, they break down right outside a cemetery inhabited with spirits drawn to the doll.

Once locked away safely, things stay relatively quiet where Annabelle is concerned until Ed and Lorraine leave their daughter Judy (McKenna Grace, I, Tonya) under the care of Mary Ellen (Madison Iseman, Goosebumps 2: Haunted Halloween) while they go to an overnight conference. While Mary Ellen is a responsible caregiver, she’s friends with Daniela (Katie Sarife) who is more interested in the Warrens profession and poking around in their artifact room than baking a cake and entertaining Judy for the night. She’s not just looking for a cheap tabloid thrill either, there’s a reason why Daniela wants to know if the supernatural afterlife is real. Left alone in the house while Judy and Mary Ellen try out a new pair of roller skates (this is the ‘70s, remember?), Daniela snoops her way into trouble when she accidentally lets Annabelle out. Once the doll is free, she brings an assortment of crazed curios from the Warrens unholy collection out to play as well.

In the past, the more sequels a movie gets the less time these installments seem to take on set-up and exposition before launching into what audiences are craving for. That’s not true with the films in The Conjuring Universe. At 106 minutes, the movie isn’t in any rush to get to the unleashing we all know is bound to happen and that allows director Gary Dauberman the opportunity to let us get to know these characters a bit more. Peppered with creepy moments for the first hour as we see the Warrens leave the girls for the night and Daniela taking her need for emotional closure in the spirit world one-step too far, when the movie does reach its apex it takes off like a rocket and doesn’t let up.

Popping up over these last several years in small roles proving herself as a dependable young actor, Grace is an ideal lead as the Warrens only child. Maybe possessing some of the same gifts as her mother, Grace paints Judy as struggling to fit in but not unware that maybe she’s one keeping people at a distance. Her sisterly friendship with Mary Ellen is believable and Iseman too turns in a winning performance as the smart, responsible babysitter that doesn’t let a pining boy (charming Michael Cimino) in because she’s already committed to spending time with Judy. Though at first glance Sarife’s role looks like the bad girl there to cause all the trouble and pay a huge price, the script by Dauberman (who also did good work with IT) and James Wan (Insidious) has bigger (and surprisingly emotional) plans for her in the long run.

While Annabelle Comes Home doesn’t ultimately land with the same electric punch as Annabelle: Creation, it’s still a resoundingly worthy entry in this growing universe. If the scripts continue to be creative and the casting remains strong, I can see these doing good business if the interest is still there. Looking ahead we have The Conjuring 3 in 2020 and then nothing firm yet for the next slate of films and I think that’s a good thing. Let’s see how these movies land and then figure out where to go from there.  Something tells me Annabelle has more untold stories waiting to get a big screen scream treatment.

Movie Review ~ I, Tonya


The Facts
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Synopsis: Competitive ice skater Tonya Harding rises amongst the ranks at the U.S. Figure Skating Championships, but her future in the activity is thrown into doubt when her ex-husband intervenes.

Stars: Margot Robbie, Sebastian Stan, Allison Janney, Mckenna Grace, Bojana Novakovic, Julianne Nicholson, Bobby Cannavale, Paul Walter Hauser

Director: Craig Gillespie

Rated: R

Running Length: 120 minutes

Trailer Review: Here

TMMM Score: (7.5/10)

Review:  As I triple-axel my way ever closer to middle age, I’ve started to notice something all-together irritating.  Recently I’ve begun to see that movies based on real events have become less of an educational opportunity for me but more of a memory-jogging excursion into my teenage years.  Yes, I’m getting so old that I can actually remember where I was when Princess Diana died, when O.J. Simpson took that famous joyride in the white Bronco, and I definitely, 100% remember where I was during the 1994 Lillehammer Winter Olympics. Like most of America, I was glued to the tube watching not just the stunning athleticism on display but wondering how the drama of the previous months was going to play out.  We’ll get back to that because while ardent fans will remember who skated their way to the gold, silver, and bronze this is, after all, a spoiler-free blog and the events leading up to these Olympic games are the climax of I, Tonya.

I’ll admit going into I, Tonya with a little prejudice not just toward its subject but also it’s star.  Over the years the name Tonya Harding was equated with the horrible attack on her colleague and competitor Nancy Kerrigan.  While the tabloids were busy painting Harding as an evil conspirator, the makers of I, Tonya (including star and executive producer Margot Robbie) are more interested in showing the genesis of the famed figure skater, her struggle to the top, and her mighty (and maybe ultimately unjustified) fall from grace.

Framed by a series of interviews inspired by the words of the actual people involved, I, Tonya takes a while to stand on its own.  At first the narrative device gives the film a cheapness that isn’t helped by stars Robbie (as Harding) and Sebastian Stan (as her ex-husband Jeff Gilloly) laboring under some troublesome make-up, wigs, and facial hair to age them into their early ‘40s.  It’s when writer Steven Rogers (Love the Coopers) and director Craig Gillespie (The Finest Hours) do away with the tell vs. show method and cease with the random breaking of the fourth wall that the movie scores major points and takes on a life of its own.

Skating through Harding’s early years as a child phenom pushed by her chain-smoking foul-mouthed domineering monster mother LaVona (Allison Janney, The Way Way Back) into her adolescence and early marriage to the abusive Gilloly, all of the standard biopic bases are covered.  Harding comes from less than ideal circumstances and soon learns that handmade costumes and skating programs set to rock music aren’t going to win her a place in the hearts of the judges.  Looking for a more wholesome specimen to represent the world at the Olympics, the judges score Harding lower than her peers even though it’s well known she could skate rings around them.  There’s two great scenes where Harding confronts the judges, one ends with Harding hurling a gem of vulgarity and the other that makes you feel even more sorry for the young woman that just wants to be recognized for her ability, not her perceived personality shortcomings.

Harding was surrounded by people that wanted her to succeed not for her benefit but for theirs above all else.  LaVona looks to her daughter to be the bread-winner and save her from her life as a waitress, Gilloly obsessively loved his wife but couldn’t handle her need for independence after being brow-beaten by her mother and abandoned by her father.  Then there’s Gilloly’s friend and Harding’s bodyguard Shawn (Paul Walter Hauser) who hatches a jokey plan for psychological warfare on Harding’s foes that ultimately became the plot to injure Kerrigan.

I’ve struggled mightily with Robbie ever since she broke onto the scene in The Wolf of Wall Street and there’s always a feeling of potential that’s never fully embraced.  While she received much attention for her role as Harley Quinn in the odious Suicide Squad and biffed it earlier in 2017 with Goodbye Christopher Robin, here she made me a believer in the accolades she’s garnered for playing Harding.  Early scenes feel awkward as the Australian Robbie adopts a trailer trash slack drawl but she eventually finds her groove, leading to a supremely satisfying turn in the final ¼ of the movie.  There’s a short scene with her attempting to put on her game face (literally) in a mirror that alone should get her an Oscar nomination.

Robbie’s ably supported by Stan (Captain America: The Winter Soldier) and Janney, the latter of which goes all out as a nightmare of a woman that doesn’t have a motherly instinct in her body.  Her justification of why she behaves the way she does toward her daughter is hysterical, enlightening, and very very sad.  Playing her first coach and one of her only true allies, Julianne Nicholson (August: Osage County) is also a strong presence in the film.  Though Robbie and Janney are getting the awards attention, for my money Hauser’s dimwit bodyguard is the one that needs a bigger spotlight for his deliriously droll performance.  It may look easy to do but his excellent timing and perfectly pitched physicality is more memorable for me than anything else.

It’s not all rosy for I, Tonya though.  Relying on some wince-inducing soundtrack choices that are far too on the nose, Gillespie throttles into his audience with too many asides to cameras and leaps back and forth in time.  While Robbie can skate, the scenes where she’s recreating Harding’s famously difficult performances are done using a double with Robbie’s face unconvincingly digitally inserted over the stand-in.  This never, ever, looks good and too often produces laughs as it seems Robbie’s face and the skater’s body are playing two different emotions.

Yet for all its wobbly construction issues I was left reeling by the committed performances and that’s what pushes this one ahead into something worth seeking out.  I’m almost positive this is the best we’ll see Robbie for a while so I’d advise to strike while the iron’s hot and see what all the fuss is about.  While Janney is wonderfully acerbic, I’d favor Laurie Metcalf’s equally troubling mother in Lady Bird over this performance if I was forced to choose in an Oscar pool.  This one might not get a perfect score, but in uncovering more about Harding than most people have seen, it gets top marks.

The Silver Bullet ~ I, Tonya

Synopsis: Competitive ice skater Tonya Harding rises amongst the ranks at the U.S. Figure Skating Championships, but her future in the activity is thrown into doubt when her ex-husband intervenes.

Release Date: December 8, 2017

Thoughts: Well this looks like a wild ride. The brouhaha surrounding the infamous conspiracy involving figure skater Tonya Harding’s involvement in the injury of her competitor Nancy Kerrigan was the stuff of tabloid dreams.  Over the years Harding has faded from the public eye but  I, Tonya aims to drudge up events that have been on ice for some time.  Directed by Craig Gillespie (The Finest Hours), while the movie looks like a black comedy at its bleakest and darkest (I get shades of Gus Van Sant’s To Die For, no?), I’ve already heard buzz that it’s one you’re either going to get a huge kick out of or feel like you need a shower after to wash away the mean grime the film leaves on you.  I’m still nowhere near sold on the overall impact of Margot Robie (Exhibit A: Goodbye Christopher Robin) but if the Oscar rumors are true about co-star Allison Janney (Minions) then all shall be forgiven…for now.